The caption to the photograph reveals that this isn’t New York at all, of course, but Sweden: a life-size replica of Harlem in a forest in the west of the country, near Gothenburg. The asphalt and snow are real enough, but nearly everything else is fake. The streets are void of people and cars; the store fronts are life-size photographs, printed on canvas and hung on steel frames. Welcome to the Potemkin village: a place of clones, impostors, facsimiles, frauds. Maybe don’t plan to stay.
— The New York Times

Why is there a life-size replica of Harlem in Sweden? This bizarre space turns out to be a test track for self-driving cars. Why Harlem? Even Austrian artist Gregor Sailer who photographed the space doesn't know. Sailer traveled around the world to capture 25 of these false architectural... View full entry

In pre-industrial days, copying used to be a positive act. It was seen as a skill. Artists were looked upon as handworkers. Copying became a negative notion with the cult of the individual artist and the arrival of mass production, which made replication extremely cheap and easy. Copyright and intellectual property laws were created to protect the original. In those days, the amount of new products reaching the market was relatively small.
— rennyramakers.com